BY IAN J. HARTE
The Martin Institute welcomed architect and architectural historian Pamela Karimi last Monday to promote a forthcoming book, “Alternative Iran: Contemporary Art & Critical Spatial Practice.” The book discusses the ways in which architecture determines how we live our lives and express ourselves.
Karimi explained the book’s focus on art in Iranian architecture, and how freedom of expression is extremely limited in Iran. A native of Iran, Karimi explained how often she witnessed Iranians use space creatively to display their art, and not be censored by the government.
“Ideas must be expressed in private, counter-public spaces; In Iran, there is a tendency to control people, especially by separating [art expressed between] men and women,” she said.
She referred to a specific ban, in 1979, on many explicit works of literature in Iran. Vladimir Nabokov’s “Lolita,” for instance, was banned for descriptions of pedophilia and, ultimately, seduction. A writer named Azar Nafisi taught it surreptitiously in the basement of her home.
But it is not that the government does not know about bold art, “they just don’t want it to have a bold presence,” she said.
An example Karimi gave for this was a theatre group that could put on a production about the Greek goddess Melpomene, as long as they did it in a cave outside of Tehran and branded it as “ecotourism.”
“People perform in homes about to be demolished,” she said.
She said that the actors move about the house based on how the audience reacts to the content, creating an interactive performance; it is the ideal camouflage that enhances creativity.
“This type of performance was created in response to the artists’ desire for more democracy in their society. They want the community to discuss topics of sacred against profane, welcome against forbidden. That’s what art does,” she said.
Her example of this juxtaposition was the Shah-e-Cheragh is a mausoleum in Iran, from the 9th century, which is the resting place of two direct brothers of Ali al-Ridha, eight Imam of Islam and direct descendant of Muhammad. It is called the Emerald Mosque because it has an extremely controversial design; Karimi brought a picture of its interior, which is entirely covered with tiny mirrors.
She explained the rule in the Islamic faith that one must never be able to see one’s reflection in a place of worship because any vanity is forbidden; however, one can see in the picture that the mirrors in the Emerald Mosque are so small that they are unable to cast a reflection, and that light in fact reflects off all these mirrors, enhancing the reverential environment. More light can shine on the sacred tombs. Karimi believes that the architect of this mosque sought to challenge authority for being arbitrary; even something sacrilegious can be used to enlighten one’s faith.
Karimi gave many examples of Iranian counter-public art having become so powerful that it has cultivated site-specific art. One of these was after President Mahmoud Ahmadinejad’s “World Without Zionism” conference when he shut down a newspaper that was trying to cover the issue. Karimi’s picture showed the abandoned headquarters, which one of the former journalists, Farideh Shahsavarini, turned into an exhibit by covering the entire floor, walls, and ceiling with articles he and his colleagues had written about the issue.
One art gallery was compiled in a former bomb shelter; Karimi explained how this was meant to symbolize that art needs protection.
Karimi has seldom seen Iranian artists use conventional images in their art, like Qur'an passages or pictures of shrouded women. “The real Iran makes art everywhere because creativity happens everywhere,” she said.
Her book will be published in mid-August by the Stanford University Press. It is available for pre-order at the publisher’s official Web Site, through
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